National Film Award for Best Screenplay
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National Film Award for Best Screenplay
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The National Film Award (Silver Lotus Award) for Best Screenplay winners:
List of recipients
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*
|
Indicates a joint award for that year |
| Year (Award Ceremony) |
Recipient(s) | Film(s) | Language | Citation |
|---|---|---|---|---|
| 1967 (15th) |
S. L. Puram Sadanandan | Agni Puthri | Malayalam | |
| 1968 (16th) |
Pandit Anand Kumar | Anokhi Raat | Hindi | |
| 1969 (17th) |
Puttanna Kanagal | Gejje Pooje | Kannada | |
| 1970 (18th) |
Satyajit Ray | Pratidwandi | Bengali | |
| 1971 (19th) |
||||
| 1972 (20th) |
Gulzar | Koshish | Hindi | |
| 1973 (21st) |
Mrinal Sen and Ashish Burman | Padatik | Bengali | |
| 1974 (22nd) |
Satyajit Ray | Sonar Kella | Bengali | |
| 1975 (23rd) |
No Award | |||
| 1976 (24th) |
||||
| 1977 (25th) |
Satyadev Dubey, Shyam Benegal and Girish Karnad | Bhumika | Hindi | For powerfully recreating the biography of an actress, for its rare, psychological insights and understanding of human relationships, for the complex integration of theme, style and dramatic situation into an engrossing whole, which provokes the spectator into a new awareness of the predicament of the working woman in Indian society. |
| 1978 (26th) |
T.S. Ranga and T.S. Nagabharana | Grahana | Kannada | For maintaining taunt narrative line without resorting to melodrama and retaining a firm grip on the central idea in an action packed film. |
| 1979 (27th) |
Sai Paranjpye | Sparsh | Hindi | |
| 1980 (28th) |
Mrinal Sen | Akaler Sandhane | Bengali | For effectively combining the terse and pithy dialogue with creation of well-defined, lively characters to convey a poignant story which leaves a lasting impression.h |
| 1981 (29th) |
K. Balachander | Thanneer Thanneer | Tamil | For translating the suffering of the people in drought-affected areas into a gripping visual narrative. |
| 1982 (30th) |
Mrinal Sen | Kharij | Bengali | For its economy of expression in the treatment of a sensitive theme. |
| 1983 (31st) |
G V Iyer | Adi Shankaracharya | Sanskrit | For its rich texture, lyricism and cinematic elegance in its presentation of Shankaracharya as an embodiment of greatness. |
| 1984 (32nd) |
Adoor Gopalakrishnan | Mukhamukham | Malayalam | |
| 1985 (33rd) |
Bhabendra Nath Saikia | Agnisnaan | Assamese | For the powerful rendering of the saga of a woman who goea through the revolution against the prevailing social mores and comesto terms with herself. |
| 1986 (34th) |
Budhdhadeb Dasgupta | Phera | Bengali | For its penetrative and sensitive screenplay depicting the trauma faced by an artist in search of his identity in relation to his professional and personal life. |
| 1987 (35th) |
Adoor Gopalakrishnan | Anantaram | Malayalam | For the precision in structuring a very complex narrative content requiring both exceptional dramatic and literary skills. |
| 1988 (36th) |
Arundhati Roy | In Which Annie Gives It Those Ones | English | For capturing the anguish prevailing among students of professional institutions. |
| 1989 (37th) |
M.T. Vasudevan Nair | Oru Vadakkan Veeragatha | Malayalam | For the gripping plot, clearly etched characterisations and the brilliant portrayal of life in Kerala a few hundred years ago. |
| 1990 (38th) |
K.S. Sethu Madhavan | Marupakkam | Tamil | For depicting a simplistic story, capturing the various levels of philosophy, psychology, tradition and relationships perfectly. |
| 1991 (39th) |
M.T. Vasudevan Nair | Kadavu | Malayalam | For its sensitive and poetic treatment of disillusionment of an underprivileged adolescent. |
| 1992 (40th) |
M.T. Vasudevan Nair | Sadayam | Malayalam | For an extremely well structured script. |
| 1993 (41st) |
Satyajit Ray (Posthumously) | Uttoran | Bengali | For designing and structuring a screenplay from an imaginative and aesthetic angle, with a superb control over the unity of impressions. |
| 1994 (42nd) |
M.T. Vasudevan Nair | Parinayam | Malayalam | For his masterly use of fiction in cinema, reconstructing pre-1940s Kerala through sharply defined characters and remarkable control over dialogue. |
| 1995 (43rd) |
Saeed Akhtar Mirza and Ashok Mishra | Naseem | Hindi | For their masterly and sensitive visual narration of a volatile and confused situation of the year 1992 in India with great depth and simplicity of words. |
| 1996 (44th) |
Agathiyan | Kadhal Kottai | Tamil | For tightly knit and smooth flowing plot with excellent dialogues and razor-sharp tuning. |
| 1997 (45th) |
Rituparno Ghosh | Dahan | Bengali | For tactfully crafting a sensitive theme that dwells upon an incident which raises issues of social responsibility and personal awareness. |
| 1998 (46th) |
Ashok Mishra | Samar | Hindi | For Hindi film Samar where he has used a unique structure to ekplore the complek contradictions of urban/rural, rich/poor, pcwerful/dcwntrodden in a simple story line laced with poignant Moments of humour and irony for a perceptive insight into contemporary indian life. |
| 1999 (47th) |
Madampu Kunjukuttan | Karunam | Malayalam | For expressing with extreme economy and skillful cinematic treatment a story based on a sensitive screenplay woven around an old couple. |
| 2000 (48th) |
Bharathiraja | Kadal Pookkal | Tamil | For focusing, in present times of degeneration, on love, sacrifice and family values. |
| 2001 (49th) |
G. Neelakanta Reddy | Show | Telugu | For the film, which seems to probes a real – unreal dramatic situation involving two characters full of emotion and conflicts, with a rare touch of artistic sensitivity. |
| 2002 (50th) |
Aparna Sen | Mr. and Mrs. Iyer | English | For its fluid narration of the nuances of an ambiguous relationship in troubled times. |
| 2003 (51st) |
Gautam Ghose | Abar Aranye | Bengali | For weaving together the strands of time creating a resonant dialogue between the past and the present. |
| 2004 (52nd) |
Manoj Tyagi and Nina Arora | Page 3 | Hindi | For telling a complex story in a stunningly simple manner. It takes you into the empty shallow world of Page 3, in a manner which is funny yet deeply empathetic. |
| 2005 (53rd) |
Prakash Jha, Manoj Tyagi and Shridhar Raghavan | Apaharan | Hindi | For creating a crisp screenplay that is riveting and renders pace to the entire film. |
| 2006 (54th) |
Abhijat Joshi, Rajkumar Hirani and Vidhu Vinod Chopra | Lage Raho Munna Bhai | Hindi | For the original vision with which Gandhi's philosophy of non-violence is given life in popular parlance. |
| 2007 (55th) |
Feroz Abbas Khan | Gandhi, My Father | Hindi | For the imaginative and emotional handling of uncompromisingly steadfast side of the Father of the Nation with special reference to his relationship with his troublesome son. |
| 2008 (56th) |
Sachin Kundalkar | Gandha | Marathi | For its remarkable integration of three different plots using the sense of smell at as a liet motif to focus sensitively on human relationships. |
| 2009 (57th)* |
P. F. Mathews and Harikrishna (Best Original Screenplay) | Kutty Srank[1][2] | Malayalam | |
| Gopal Krishan Pai and Girish Kasaravalli (Best Adapted Screenplay) | Kanasemba Kudureyaneri[3] | Kannada | For linking the theme of death and its inevitability through a narrative style that presents two versions of the same event, not necessarily in chronological order. | |
| Pandiraj (Best Dialogue) | Pasanga[4] | Tamil | For the conversational quality with its cutting edge wit and life like freshness. | |
| 2010 (58th)* |
Vetrimaaran (Best Original Screenplay)[5] |
Aadukalam | Tamil | For its kaleidoscopic variety that uses realism, tradition and contemporaneity, soaked in local flavour on an infinite canvas. |
| Anant Mahadevan and Sanjay Pawar (Best Adapted Screenplay) |
Mee Sindhutai Sapkal | Marathi | For retaining the concerns and values of a biographical account while translating it into the cinematic medium and honouring the essence of the original. | |
| Sanjay Pawar (Best Dialogues)[6] |
Mee Sindhutai Sapkal | Marathi | For bringing to life the textures of various characters through articulating their emotion and thought process. | |
| 2011 (59th)* |
Nitish Tiwary & Vikas Behl (Best Original Screenplay)[7] |
Chillar Party | Hindi | For a charming and utterly professional construct of an engaging middle class urban narrative that neatly delivers the values of compassion, friendship, loyalty, commitment and imagination in the world of children. They use familiar spaces, characters and situations to create an entertaining and surprising fabric of a caring society that still believes in what is good and right. |
| Avinash Deshpande Nigdi (Best Adapted Screenplay) |
Shala | Marathi | For the cinematic adaptation of a literary work that encompasses several issues and characters is always a challenging task. He skillfully transforms the descriptive power of the literary text into a cinematic narrative of layered and tender moments. Despite a range of characters and subplots, the screenplay engagingly links the lives of its teenage protagonists to the repressive context of the National Emergency. | |
| Girish Kulkarni (Best Dialogue)[8] |
Deool | Marathi | For its immensely varied and textured use of language that is both an authentic and an energetic reflection of the different sections of life shown in the film: the language of the village, of politicians, of the scholar and much else. His dialogues - robustly rustic yet influenced by urban vocabulary - is characteristic of the Indian scene today. | |
References
- ^ http://timesofindia.indiatimes.com/india/Bollywood-holds-sway-over-National-Film-Awards-a-4th-for-Amitabh-Bachchan/articleshow/6562001.cms
- ^ http://www.dailylatestnews.com/2010/10/23/57th-national-film-awards-2010-deserving-artists-honored-030827
- ^ http://entertainment.oneindia.in/kannada/top-stories/2010/kannada-national-film-awards-160910.html
- ^ http://entertainment.oneindia.in/tamil/exclusive/2010/pasanga-three-honours-160910.html
- ^ http://in.news.yahoo.com/tamil-malayalam-movies-sweep-top-national-awards-125132137.html
- ^ http://ibnlive.in.com/news/list-of-winners-58th-national-film-awards/152907-8.html
- ^ http://ibnlive.in.com/news/national-awards-byari-devur-win-best-feature-film/237000-8.html
- ^ http://pib.nic.in/newsite/erelease.aspx?relid=80734
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